Playhead是一款可以在IPHONE,IPAD,ITOUCH进行远程遥控FINAL CUT PRO剪辑的工具，力可以坐在沙发上就可以进行剪辑了。
它的功能包括添加标记，剪辑，进行粗剪的一些功能，真是太棒了。
以下是itunes store的销售地址：
http://itunes.apple.com/app/playhead/id380858534?ign-mpt=uo%3D5
photoshop Black~White 0-255
Final Cut Pro Black~White 0%-100% white setting 109% Super-White setting
mac通过火线给dv device，然后通过模拟信号输出给Monitor监看。
NTSC
在北美的模拟的电视标准制式。对于模拟和数字的标准，概念和工作流程是一样的
最好使用一个专业的监看，尽量避免使用用户型的tv电视。
计算机监视器并不是最终的颜色校正工具，它有不同的颜色范围和不同的对比度，画布（Canvas）仅提供一个好的预览
Apple在4.12.2011在NAB发布最新版本的Final Cut Studio,现场讲聘请larry jodan现场实际演示，即将揭晓的版本将是令人惊奇的，敬请期待！！！
Format: PAL Rate: 25 fps
setting: DV-PAL
Broadcast-SD,数字模拟，或者数字带，广播级别
Format: PAL Rate: 25 fps
Setting: Apple ProRes 422 (HQ) oder Unkomprimiertes
8-Bit PAL 48 kHz
DVCPRO HD
Format: HDRate: 25 fps oder 50 fps
Setting: DVCPRO HD 1080i50
HDCAM:
Format: HD Rate: 25 fps oder 50 fps
Setting: Apple ProRes 4444 oder Apple ProRes 422 (HQ)
此转化工具省去了找各种针对摄像机的插件，只需一步转化。
转换为各种格式的视频。
针对不同款摄像机格式的转换功能
针对redone的转化
转化格式的速度方面也非常快，当然这个也取决于你的电脑性能了！
文章出自finalcolor.net，转载请注明，谢谢！
If you’re having system problems and want to clean the disk, check partitions, and so on, here’s a way to fix problems without any third-party applications: Start up in single-user mode, and run FSCK. Uh, what was that?
FSCK stands for “file system check,” and the –fy you’ll type just says to go ahead and fix any problems it finds. Here’s the drill:
1 Restart your Mac.
2 Immediately press and hold Command + Option + S. You’ll see a bunch of text begin scrolling on your screen. (Cool, you’re now a geek.) Soon you’ll see the Unix command line prompt (#). Don’t cry; it’s still your Mac—you’re just a true Unix god—well, demi-god.
3 Type fsck -fy (that’s fsck + space + minus + f + y).
4 Press Return.
The FSCK utility will do its magic, running some text across your screen. If there’s damage to your disk, you’ll see a message that says: “FILE SYSTEM WAS MODIFIED.”
If you see this message, it found some problems and fixed them—repeat steps 1 and 2 until that message no longer appears. It’s normal to have to run FSCK more than once; the first run’s repairs often uncover additional problems.
When FSCK finally reports that no problems were found and the # prompt reappears, type reboot to restart or type exit to start without rebooting. Then press Return.
We’d be lying if we told you we didn’t like the Dashboard and the multitude of widgets that it uses. The problem is if your Dashboard looks anything like ours (read way too many widgets to count) quite a bit of system memory is used to run those widgets.
Well, many people’s first thought is to close the application to reclaim that memory. Guess what? You can’t quit the Dashboard! Well, not in the conventional sense anyway. Here are two ways to kill the Dashboard application, one easy and one geeky.
1 There are a couple applications on the market that let you kill the Dashboard application. A simple one is called Disable Dashboard Utility (do a search on versiontracker.com). It’s really two small applications; one to deactivate and one to enable the Dashboard.
2 If you’re an uber Unix geek you can also kill the Dashboard by opening up the terminal and typing the following commands:
To turn Dashboard off type:
Defaults write com.apple.Dashboard mcx-disabled -boolean YES
To turn Dashboard back on type:
Defaults write com.apple.Dashboard mcx-disabled -boolean NO
3 For either of these commands to take effect you have to restart the Dock by typing: killall Dock
When you have Macbook Pro 15,resolution can not reach to minimun resolution.We should:
1.Close Davinci Resolve
2.Open Terminal
scale Davinci Resolve interface:
defaults write -g AppleDisplayScaleFactor 0.85
Normal:
defaults write -g AppleDisplayScaleFactor 1
3.It’s over.
Enjoy it!HAHA.
当让播放头跳到标记处，只需hold”command+option+right arrow”.当想让行为或者某一层跳到播放头处，按住shift+[,就可以实现。pleas try it!
可以直接在final cut pro中进行dpx的剪辑和LUT表的调用，还可以直接输出视频。
文章出自finalcolor.net，转载请注明，谢谢！
通过在motion设定一些parameters的行为参数，可以很好的在final cut pro中有效的控制，没必要再到motion中进行修改！it’s great!
文章出自finalcolor.net，转载请注明，谢谢！
Why do different color wheels in different pieces of software and applications act differently?
How does that answer effect our approach to color grading?
Those two thoughts came to the top of my mind when reading Oliver Peter’s excellent post, Grading with Color Wheels. Why don’t you head over there and read that post? It’s very informative and helps build the foundation for this post. I’ll wait…
Understanding how the color wheels in your NLE process the image has a huge impact on how you approach your color correction. In this post we’ll build out the concepts introduced in Oliver’s article to give us a working methodology.
First, let’s look at Final Cut Pro’s 3-way Color Correction plug-in. I’ll do the same thing Oliver has done. But since my shot has some pretty obvious highlights – for the sake of this example I’m going to drag the highlights and make them blue. Below is the Before / After images. I want you to pay particular attention to the brightest highlights in the waveform monitor.
I’ve noted the highlights with the yellow arrow. But also take a look at the midtones and near the blacks. You’ll notice the waveform is identical. It hasn’t moved a smidgen. Try this yourself with your own footage and with the scopes open. Concentrate on the Waveform Monitor. You’ll notice that no matter how hard you push the wheels – the waveforms in FCP stay rock solid. I’m going to explain in a minute what this means to us as colorists (and why).
But first, let’s move to Apple’s Color and take a look at the same image – with a much milder push toward blue – and again, examine the highlights.
Again, I’ve noted the highlights with the yellow arrow. I’ve done a much much milder blue push, and the waveform is significantly different. In fact, if you do this with your own footage in Color, you’ll see the waveform bounces all over the place as you push and pull your color wheels.
What’s the difference between the Color Wheels in Final Cut Pro and Apple’s Color?
In two words: Math. Audience.
It all starts with Audience. Final Cut Pro is primarily designed for television and television codecs. It works in YUV* color space. In English, this means the underlying image is processed first as brightness values (Y) and then the color values (UV) are derived with some math that use the Y value as a component in that math.
Said even more simply, current video codecs are built upon a simple fact from the early days of television: All color broadcasts needed to be backward compatible with black and white television. This was accomplished by grafting the color information (UV) onto the existing black and white (Y) signal. Thus – today in Final Cut Pro (and any other YUV-based color correction system), pushing and pulling your color wheels have zero effect on the brightness of the image… but the brightness values have a huge effect on color.
Apple’s Color was built for film colorists and film workflows which are RGB workflows and use RGB codecs. Notice, there is no Y component in RGB. Each channel in RGB has brightness values built directly into it. Thus, the underlying math for taking a Lime Green image and pushing it around can result in the image getting darker and brighter depending on how far towards, say, Orange (or any other color) you start to push it. In RGB systems, how reactive brightness is to color changes depends on the underlying math the software programmers are using.
4 ways to put this color theory into action
How can we use these facts to our advantage? I’ve thought of four:
1.In Final Cut Pro – Your initial corrections should begin with brightness, then make hue/saturation corrections, then tweak both as necessary. Again, since color information is partly derived from the Y values, any changes you make in contrast will have big impacts on color. Conversely, once contrast is set – pushing and pulling the color wheels will have zero impact on brightness. So, in FCP – First brightness, then color, then massage as necessary.
2.In Color – There are no set rules. RGB light mixing is a dance. It’s one reason why an outboard control surface is so useful in Color, the dance is much easier to manage and more intuitive.
3.In Color – Often, if you have to fix footage with massive color balance issues and can’t get the luminosity you want with the chrominance you desire because of noise, try bouncing out to FCP and see what the 3 Way Color Corrector filter gives you. It has saved me on more than one occasion. I can often boost Y pretty massively without introducing nearly as much color noise as I would in Color.
4.Whenever you get a new color correction plug-in or on a new piece of color correction software – push the color wheels around while paying attention to your waveform. This will give you a good idea if the underlying math is YUV or RGB and inform you as how to best proceed with your initial corrections.
I hope this helps.
文章出自finalcolor.net，转载请注明，谢谢！
ACTIVE SENSOR 4520×2540
4K 16×9 4096×2304
4K HD 3840×2160
3K 16×9 3072×1728
2K 16×9 2048×1152
Beyond HD,new digital acquisition tools such as the RED ONE camera can record 2K and 4K resolution,or 4520×2540-a stunning 11.5 megapixels for 4K!There are different standards in place for 2K and 4K,such as the Academy standard and the Digital Cinema Initiative.DCI states that 2K is 2048×1080(or 2.2 megapixels), and 4K is 4096×2160(or 8.8 megapixels).
NTSC 720×480/486
Digital Cinema Initiative 2048×1080 “2k”
Digital Cinema Initiative 4096×2160 “4k”
Red Camera(4520×2540 “4K”)
Optimal Digital Metering
Mastering for Broadcast or SD DVD
-DV or HDV Source Media
-Peak volume at -6dB
-Average volume at -12dB
Mastering for Theatrical Release
-Peak volume at -6dB
-Average volume at -31dB
文章出自finalcolor.net，转载请注明，谢谢！
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